Over the last twenty years, the growing diversity in content and artistic innovation in graphic novels, comic books, and web comics combined with the popularity of films based on comics material have made comic art newly attractive to curators, museums, and university galleries. More artists identified with comics are getting big budget retrospectives, collecting institutions are mounting rich historical shows, and exhibits capitalizing on the popularity of all types of comics are popping up around the world. The chapter maps out the history of influential shows of original comic art from newly rediscovered shows of the 1930s to contemporary blockbusters like High and Low: Modern Art, Popular Culture and Masters of American Comics, as well as the critical dialogue surrounding these shows, who some of the pioneers were, and how exhibition standards have developed over time.

Earle’s chapter considers the implications of the early appearance of Joyce’s writings in pulp fiction outlets. Building on his previous work, Recovering Modernism: Pulps, Paperbacks, and the Prejudice of Form (2009), the chapter considers the significance of the after-life of Joycean texts, circulating as pulp fiction in the popular sphere, reflecting on the broader stakes of modernism as an organizational or conceptual category. The dispute over the “high” or “low” nature of Joyce’s oeuvre allows us to examine not just the vexed relationship between modernism and mass culture but also the nature of popular outlets. What does their publication of Joyce tell us about the values underpinning pulp magazines? The chapter considers how criticism tends to “cherry pick” Joyce, and how his work lends itself to this type of piecemeal exploration (for better or worse). In other words, the manifestations of popular Joyce consisted of very specific pieces of writing, and the dynamics that made them available for such remediation were definitely not true of other pieces. This observation points to the importance of celebrating the fragmentary nature of modernism, illustrating a new modernist studies that resists cohesive understandings of modernism.